{"title":"HARMONIOUS INTRUSION: MANKIND AND NATURE IN STATIUS’ SILVAE 1.3","authors":"Brian Theng","doi":"10.1017/s0009838823000757","DOIUrl":"https://doi.org/10.1017/s0009838823000757","url":null,"abstract":"\u0000 There are three conventionally held views about the relationship between mankind and nature in the Roman villa: man is master over the natural landscape; villas were positioned at vantage points so that the downward gaze of a dominus reinforced his domination; gardens offered opportunities to bring order upon nature. This article argues to the contrary that Manilius Vopiscus’ villa in Statius’ Siluae 1.3 presents a harmonious relationship between key natural features, the villa architecture and the villa proprietor himself. Nature sometimes takes precedence, while the villa complements and integrates with the environment. This allows us to appreciate the nuances in Statius’ overall presentation of the relationship between mankind and nature in Book 1 and in other poems in the Siluae.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"3 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140442872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"OMNIA TVTA TIMENS (VIRGIL, AENEID 4.298): ALLUSION AND AMBIGUITY","authors":"Paolo Dainotti","doi":"10.1017/s0009838823000940","DOIUrl":"https://doi.org/10.1017/s0009838823000940","url":null,"abstract":"\u0000 This paper deals with a case of Virgilian ambiguity, namely the famous hemistich at Aen. 4.298 omnia tuta timens. By highlighting a plausible reading with a causal force (‘fearing everything too calm’, ‘because of the excessive calmness’), it seeks to demonstrate that this hemistich is an ambiguous passage. This view is confirmed through the imitation by Valerius Flaccus, who, in alluding to the Virgilian passage (Argonautica 8.408–12), highlights its ambiguity by including both of the most plausible readings.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"885 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139835220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"ARCHITECTURAL MEMORY AND TRIMALCHIO'S PORTICVS","authors":"Anna Anguissola","doi":"10.1017/s0009838823000708","DOIUrl":"https://doi.org/10.1017/s0009838823000708","url":null,"abstract":"\u0000 This paper seeks to respond to two questions posed by previous commentators concerning the arrangement of Trimalchio's porticus as described in Petronius’ Satyrica (Sat. 29): first, whether the freedman's house lacked an atrium; second, whether the cursores (runners) who are described as unconventionally exercising in the portico were pictorial representations or real-life athletes who would symbolize the social incompetence of the dominus. This paper argues that nothing in the text supports the interpretation of Trimalchio's house as having an unconventional architectural layout. Instead, as the narrative requires that Encolpius move quickly towards the triclinium, in his description the loca communia appear conflated, while he only sparsely notices a few relevant elements of the decor. The presentation of Trimalchio's porticus appears to have a functional rather than a simply descriptive purpose: it symbolizes both Roman contemporary practices (the loca communia as a distinctive unit within the domus) and the influence of Greek cultural habits (the characteristic association of colonnaded courtyards and athletics). The excerpt that describes the guests’ arrival at Trimalchio's house, therefore, serves an important narrative function, providing essential information about the character's origins, self-image and social life.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"18 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139774199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"OMNIA TVTA TIMENS (VIRGIL, AENEID 4.298): ALLUSION AND AMBIGUITY","authors":"Paolo Dainotti","doi":"10.1017/s0009838823000940","DOIUrl":"https://doi.org/10.1017/s0009838823000940","url":null,"abstract":"\u0000 This paper deals with a case of Virgilian ambiguity, namely the famous hemistich at Aen. 4.298 omnia tuta timens. By highlighting a plausible reading with a causal force (‘fearing everything too calm’, ‘because of the excessive calmness’), it seeks to demonstrate that this hemistich is an ambiguous passage. This view is confirmed through the imitation by Valerius Flaccus, who, in alluding to the Virgilian passage (Argonautica 8.408–12), highlights its ambiguity by including both of the most plausible readings.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"48 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139775842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"ARCHITECTURAL MEMORY AND TRIMALCHIO'S PORTICVS","authors":"Anna Anguissola","doi":"10.1017/s0009838823000708","DOIUrl":"https://doi.org/10.1017/s0009838823000708","url":null,"abstract":"\u0000 This paper seeks to respond to two questions posed by previous commentators concerning the arrangement of Trimalchio's porticus as described in Petronius’ Satyrica (Sat. 29): first, whether the freedman's house lacked an atrium; second, whether the cursores (runners) who are described as unconventionally exercising in the portico were pictorial representations or real-life athletes who would symbolize the social incompetence of the dominus. This paper argues that nothing in the text supports the interpretation of Trimalchio's house as having an unconventional architectural layout. Instead, as the narrative requires that Encolpius move quickly towards the triclinium, in his description the loca communia appear conflated, while he only sparsely notices a few relevant elements of the decor. The presentation of Trimalchio's porticus appears to have a functional rather than a simply descriptive purpose: it symbolizes both Roman contemporary practices (the loca communia as a distinctive unit within the domus) and the influence of Greek cultural habits (the characteristic association of colonnaded courtyards and athletics). The excerpt that describes the guests’ arrival at Trimalchio's house, therefore, serves an important narrative function, providing essential information about the character's origins, self-image and social life.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"170 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139833568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"CYNTHIA'S BIRTHDAY ACROSTIC (3.10.1–5): PROPERTIUS ON ELEGIAC TIME AND ETERNITY","authors":"J. Hejduk","doi":"10.1017/s0009838823000654","DOIUrl":"https://doi.org/10.1017/s0009838823000654","url":null,"abstract":"\u0000 This article argues that an intentional acrostic spanning the first five lines of Propertius’ elegy for Cynthia's birthday (3.10), \u0000 MANE[T]\u0000 , contributes significantly to the poignancy and purpose of the poem. \u0000 MANE\u0000 can be read as māne, ‘in the morning’, or manē, ‘stay!’, both of which emphasize the fleeting nature of dawn—and of Cynthia's youthful beauty. \u0000 MANET\u0000 can suggest both ‘[art] remains’ and ‘[death] awaits’. All four of these meanings work together to capture the tension between human transience and artistic immortality. The theme is further enhanced by a balancing reverse telestich at the poem's end, \u0000 ROSA RVES\u0000 (‘[a] rose, you will fall to ruin’).","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"40 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139838373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"CYNTHIA'S BIRTHDAY ACROSTIC (3.10.1–5): PROPERTIUS ON ELEGIAC TIME AND ETERNITY","authors":"J. Hejduk","doi":"10.1017/s0009838823000654","DOIUrl":"https://doi.org/10.1017/s0009838823000654","url":null,"abstract":"\u0000 This article argues that an intentional acrostic spanning the first five lines of Propertius’ elegy for Cynthia's birthday (3.10), \u0000 MANE[T]\u0000 , contributes significantly to the poignancy and purpose of the poem. \u0000 MANE\u0000 can be read as māne, ‘in the morning’, or manē, ‘stay!’, both of which emphasize the fleeting nature of dawn—and of Cynthia's youthful beauty. \u0000 MANET\u0000 can suggest both ‘[art] remains’ and ‘[death] awaits’. All four of these meanings work together to capture the tension between human transience and artistic immortality. The theme is further enhanced by a balancing reverse telestich at the poem's end, \u0000 ROSA RVES\u0000 (‘[a] rose, you will fall to ruin’).","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"64 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139778751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marcus Deufert, Vincent Graf, Silvia Ottaviano, Kevin Protze
{"title":"NOTES ON THE TEXT OF VARRO'S DE LINGVA LATINA","authors":"Marcus Deufert, Vincent Graf, Silvia Ottaviano, Kevin Protze","doi":"10.1017/s0009838823000770","DOIUrl":"https://doi.org/10.1017/s0009838823000770","url":null,"abstract":"\u0000 This article discusses the text of seven passages in the etymological books 5–7 of Varro's De lingua Latina, and proposes new conjectures for all of them. The discussions are of direct relevance to the interpretation of fragments and testimonies of lost Latin authors quoted by Varro: the scenic poets Naevius, Pacuvius, Caecilius Statius, Juventius and Atilius, and the grammarian Aurelius Opillus. The starting point for the discussions is the new Oxford edition of Varro's De lingua Latina by Wolfgang de Melo.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139794160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marcus Deufert, Vincent Graf, Silvia Ottaviano, Kevin Protze
{"title":"NOTES ON THE TEXT OF VARRO'S DE LINGVA LATINA","authors":"Marcus Deufert, Vincent Graf, Silvia Ottaviano, Kevin Protze","doi":"10.1017/s0009838823000770","DOIUrl":"https://doi.org/10.1017/s0009838823000770","url":null,"abstract":"\u0000 This article discusses the text of seven passages in the etymological books 5–7 of Varro's De lingua Latina, and proposes new conjectures for all of them. The discussions are of direct relevance to the interpretation of fragments and testimonies of lost Latin authors quoted by Varro: the scenic poets Naevius, Pacuvius, Caecilius Statius, Juventius and Atilius, and the grammarian Aurelius Opillus. The starting point for the discussions is the new Oxford edition of Varro's De lingua Latina by Wolfgang de Melo.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"23 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139853973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"PSEUDO-SACRIFICIAL ALLUSIONS IN HOSIDIUS GETA'S MEDEA","authors":"James Parkhouse","doi":"10.1017/s0009838823000745","DOIUrl":"https://doi.org/10.1017/s0009838823000745","url":null,"abstract":"\u0000 This article explores the allusive strategy of the late second-century cento-tragedy Medea attributed to Hosidius Geta, which recounts Medea's revenge against Jason using verses from the works of Virgil. It argues that the text's author recognized a consistent strand of characterization in earlier treatments of the Medea myth, whereby the heroine's filicide is presented as a corrupted sacrifice. Geta selectively uses verses from thematically significant episodes in the Aeneid—the lying tale of Sinon and the death of Laocoön; the murder of Priam; the suicide of Dido—at key points to foreground the theme of pseudo-sacrificial violence. Geta's use of Virgil evinces a keen appreciation both of the symbolism of the broader mythic tradition in which his text is situated and of the original narrative contexts of the verses he recycles. The article's findings contribute to a growing recognition of the creative potential afforded by the cento technique.","PeriodicalId":510528,"journal":{"name":"The Classical Quarterly","volume":"63 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139863459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}